research paper about greek architecture

Heilbrunn Timeline of Art History Essays

Architecture in ancient greece.

Marble column from the Temple of Artemis at Sardis

Marble akroterion of the grave monument of Timotheos and Nikon

Lion felling a bull, from a marble pediment

Terracotta architectural tile

Colette Hemingway Independent Scholar

October 2003

Ancient Greek architects strove for the precision and excellence of workmanship that are the hallmarks of Greek art in general. The formulas they invented as early as the sixth century B.C. have influenced the architecture of the past two millennia. The two principal orders in Archaic and Classical Greek architecture are the Doric and the Ionic. In the first, the Doric order, the columns are fluted and have no base. The capitals are composed of two parts consisting of a flat slab, the abacus, and a cushionlike slab known as the echinus. On the capital rests the entablature, which is made up of three parts: the architrave, the frieze, and the cornice. The architrave is typically undecorated except for a narrow band to which are attached pegs, known as guttae. On the frieze are alternating series of triglyphs (three bars) and metopes, stone slabs frequently decorated with relief sculpture. The pediment, the triangular space enclosed by the gables at either end of the building, was often adorned with sculpture, early on in relief and later in the round. Among the best-preserved examples of Archaic Doric architecture are the temple of Apollo at Corinth, built in the second quarter of the sixth century B.C., and the temple of Aphaia at Aegina, built around 500–480 B.C. To the latter belong at least three different groups of pedimental sculpture exemplary of stylistic development between the end of the sixth and beginning of the fifth century B.C. in Attica.

In the Ionic order of architecture, bases support the columns, which have more vertical flutes than those of the Doric order. Ionic capitals have two volutes that rest atop a band of palm-leaf ornaments. The abacus is narrow, and the entablature, unlike that of the Doric order, usually consists of three simple horizontal bands. The most important feature of the Ionic order is the frieze, which is usually carved with relief sculpture arranged in a continuous pattern around the building.

In general, the Doric order occurs more frequently on the Greek mainland and at sites on the Italian peninsula, where there were many Greek colonies. The Ionic order was more popular among Greeks in Asia Minor and in the Greek islands. A third order of Greek architecture, known as the Corinthian, first developed in the late Classical period, but was more common in the Hellenistic and Roman periods. Corinthian capitals have a bell-shaped echinus decorated with acanthus leaves, spirals, and palmettes. There is also a pair of small volutes at each corner; thus, the capital provides the same view from all sides.

The architectural order governed not only the column, but also the relationships among all the components of architecture. As a result, every piece of a Greek building is integral to its overall structure; a fragment of molding often can be used to reconstruct an entire building. Although the ancient Greeks erected buildings of many types, the Greek temple best exemplifies the aims and methods of Greek architecture. The temple typically incorporated an oblong plan, and one or more rows of columns surrounding all four sides. The vertical structure of the temple conformed to an order, a fixed arrangement of forms unified by principles of symmetry and harmony. There was usually a pronaos (front porch) and an opisthodomos (back porch). The upper elements of the temple were usually made of mud brick and timber, and the platform of the building was of cut masonry. Columns were carved of local stone, usually limestone or tufa; in much earlier temples, columns would have been made of wood. Marble was used in many temples, such as the Parthenon in Athens, which is decorated with Pentelic marble and marble from the Cycladic island of Paros. The interior of the Greek temple characteristically consisted of a cella, the inner shrine in which stood the cult statue, and sometimes one or two antechambers, in which were stored the treasury with votive offerings.

The quarrying and transport of marble and limestone were costly and labor-intensive, and often constituted the primary cost of erecting a temple. For example, the wealth Athens accumulated after the Persian Wars enabled Perikles to embark on his extensive building program, which included the Parthenon (447–432 B.C.) and other monuments on the Athenian Akropolis. Typically, a Greek civic or religious body engaged the architect, who participated in every aspect of construction. He usually chose the stone, oversaw its extraction, and supervised the craftsmen who roughly shaped each piece in the quarry. At the building site, expert carvers gave the blocks their final form, and workmen hoisted each one into place. The tight fit of the stones was enough to hold them in place without the use of mortar; metal clamps embedded in the stone reinforced the structure against earthquakes. A variety of skilled labor collaborated in the raising of a temple. Workmen were hired to construct the wooden scaffolding needed for hoisting stone blocks and sculpture, and to make the ceramic tiles for the roofs. Metalworkers were employed to make the metal fittings used for reinforcing the stone blocks and to fashion the necessary bronze accoutrements for sculpted scenes on the frieze, metopes, and pediments. Sculptors from the Greek mainland and abroad carved freestanding and relief sculpture for the eaves of the temple building. Painters were engaged to decorate sculptural and architectural elements with painted details.

Hemingway, Colette. “Architecture in Ancient Greece.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/grarc/hd_grarc.htm (October 2003)

Further Reading

Avery, Catherine B., ed. The New Century Handbook of Greek Art and Architecture . New York: Appleton–Century–Crofts, 1972.

Hornblower, Simon, and Antony Spawforth, eds. The Oxford Classical Dictionary . 3d ed., rev. New York: Oxford University Press, 2003.

Lawrence, A. W. Greek Architecture . 4th ed., rev. by R. A. Tomlinson. Harmondsworth: Penguin, 1983.

Pedley, John Griffiths, Greek Art and Archaeology . 2d ed. New York: Harry N. Abrams, 1998.

Pomeroy, Sarah B., et al. Ancient Greece: A Political, Social, and Cultural History . New York: Oxford University Press, 1999.

Robertson, Martin. A History of Greek Art . 2 vols. Cambridge: Cambridge University Press, 1975.

Additional Essays by Colette Hemingway

• Hemingway, Colette. “ Art of the Hellenistic Age and the Hellenistic Tradition .” (April 2007)
• Hemingway, Colette. “ Greek Hydriai (Water Jars) and Their Artistic Decoration .” (July 2007)
• Hemingway, Colette. “ Hellenistic Jewelry .” (April 2007)
• Hemingway, Colette. “ Intellectual Pursuits of the Hellenistic Age .” (April 2007)
• Hemingway, Colette. “ Mycenaean Civilization .” (October 2003)
• Hemingway, Colette. “ Retrospective Styles in Greek and Roman Sculpture .” (July 2007)
• Hemingway, Colette. “ Africans in Ancient Greek Art .” (January 2008)
• Hemingway, Colette. “ Ancient Greek Colonization and Trade and their Influence on Greek Art .” (July 2007)
• Hemingway, Colette. “ Greek Gods and Religious Practices .” (October 2003)
• Hemingway, Colette. “ The Art of Classical Greece (ca. 480–323 B.C.) .” (January 2008)
• Hemingway, Colette. “ The Labors of Herakles .” (January 2008)
• Hemingway, Colette. “ Athletics in Ancient Greece .” (October 2002)
• Hemingway, Colette. “ The Rise of Macedon and the Conquests of Alexander the Great .” (October 2004)
• Hemingway, Colette. “ The Technique of Bronze Statuary in Ancient Greece .” (October 2003)
• Hemingway, Colette. “ Women in Classical Greece .” (October 2004)
• Hemingway, Colette. “ Cyprus—Island of Copper .” (October 2004)
• Hemingway, Colette. “ Music in Ancient Greece .” (October 2001)
• Hemingway, Colette. “ Ernest Hemingway (1899–1961) and Art .” (October 2004)
• Hemingway, Colette. “ Etruscan Art .” (October 2004)
• Hemingway, Colette. “ Prehistoric Cypriot Art and Culture .” (October 2004)
• Hemingway, Colette. “ Sardis .” (October 2004)
• Hemingway, Colette. “ Medicine in Classical Antiquity .” (October 2004)
• Hemingway, Colette. “ Southern Italian Vase Painting .” (October 2004)
• Hemingway, Colette. “ Theater in Ancient Greece .” (October 2004)
• Hemingway, Colette. “ The Kithara in Ancient Greece .” (October 2002)
• Hemingway, Colette. “ Minoan Crete .” (October 2002)

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Conservation of Greek Neoclassical Facade Elements Through Their Integration in a HBIM Library

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• Elias Sakellaris 10 ,
• Konstantina Siountri 10 , 11 &
• Christos-Nikolaos Anagnostopoulos 11  

Part of the book series: Communications in Computer and Information Science ((CCIS,volume 1574))

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• International Conference on Transdisciplinary Multispectral Modeling and Cooperation for the Preservation of Cultural Heritage

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The term HBIM (Heritage Building Information Modelling) refers to recording, modelling and managing monuments and buildings of cultural interest and so far gathers more academic interest than practical application. HBIM models of architectural elements can be fully parametric, meaning that typologies can be produced by them. Those elements can be integrated in digital libraries, which is a systematic way of capturing and storing architectural elements as “smart” data. In this paper, photogrammetry and laser scanning is used to capture primitive data of Greek neoclassical architecture elements. Subsequently, the way of designing, parameterizing and documenting of these elements is presented, through the creation of HBIM models. These models are integrated in a digital library consisted of neoclassical period typologies, ideal for their digital conservation. Additionally, the parameterization of a standard neoclassical facade which includes the library elements is investigated, based on the synthetic principles that define its architectural period. This research leads to conclusions in relation to the advantages of the HBIM methodology, setting the basis of a parametric HBIM library to be extended over other parts of the building or architectural periods.

• Parametric design
• Digital libraries
• Scan-to-BIM

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Elias Sakellaris & Konstantina Siountri

Cultural Technology and Communication Department, University of the Aegean, Mytilene, Greece

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Sakellaris, E., Siountri, K., Anagnostopoulos, CN. (2022). Conservation of Greek Neoclassical Facade Elements Through Their Integration in a HBIM Library. In: Moropoulou, A., Georgopoulos, A., Doulamis, A., Ioannides, M., Ronchi, A. (eds) Trandisciplinary Multispectral Modelling and Cooperation for the Preservation of Cultural Heritage. TMM_CH 2021. Communications in Computer and Information Science, vol 1574. Springer, Cham. https://doi.org/10.1007/978-3-031-20253-7_9

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Greek Art and Architecture Art History 220/620 Classical Studies 220 AAMW 620

Research Paper

Go to the Rodney S. Young Gallery, The Ancient Greek World , in the Mediterranean Section of the University of Pennsylvania Museum of Archaeology and Anthropology and select three objects that are of interest to you. You may choose any objects you wish but keep in mind that each should be something that you can pursue some detailed research about. You may choose a decorated vase, a piece of sculpture, a coin, a terracotta, a bronze or a piece of jewelry.

Send me an email with your three objects in the order in which you would like to work on them. Include the following information about each object:

- Name of the piece - Inventory number - Date - Brief description - Why you would want to research this object

I will email you back the name and number of the object that you can work on.

The research paper should be 10-15 pages in length including drawings, illustrations and photographs. The research paper must include footnotes that should go at the foot of each page. Your paper must also include a full bibliography. The following are the topics to be considered by you.

1. Detailed description of the object, including discussion of shape, size, decoration and use. Are there other objects like it in the gallery? Which ones? Are there other examples that you can find in books, journals, internet? Is there a myth depicted? What is the myth? If there are other scenes depicted what is going on? 2. Information about the artist and the technique. How was the object manufactured? 3. Where was the object made? If for instance the object is made in Athens what do we know about the history of the city when the object was made? 4. What is the history of the object? 5. What is the importance of the object and why is it on display? 6. How does it relate to other objects in the exhibit?

Include drawings, photographs, maps as well as comparative pieces. How is your piece the same or different from similar pieces? Use the virtual exhibit of the gallery for information.

There is a reserve list of books in the University of Pennsylvania Museum of Archaeology and Anthropology Library (3rd floor) that can be of assistance to you as you begin your research. There are also many books that can be of help to you that are not on reserve! For reference to footnote and bibliographic style I recommend Kate L. Turabian, A Manual for Writers of Term Papers, Theses and Dissertations , Chicago, 7th edition, 2007.

Organization of your paper is extremely important. Please create an outline of your paper before you begin. You need to submit a progress report to me about your term paper by November 15 . The term paper is due December 4 .

Mathematics in Ancient Greek Architecture Research Paper

Ancient Greek architecture remains an illustration of ancient Greeks’ beliefs concerning chaos and cosmos and their desire to achieve the highest degree of perfection. Ancient Greeks tried to ensure the reign of harmony in all areas of human existence. The Parthenon, as well as many other temples, are still regarded as a marvel created by human civilization. One of the pillars of the art of architecture has been mathematics, and the development of this science in Ancient Greece enabled Ancient Greek architects to create beautiful buildings (Wilson, 2015).

Geometry provided architects with the tools necessary for proper design and construction (Leonardis, 2016). Such concepts as the golden ratio, proportion, and grid, as well as the ability to generalize, were instrumental in the development of Ancient Greek architecture. This paper unveils some of the central mathematical concepts that led to the evolvement of architecture in ancient Greece.

Ancient Greeks placed considerable value on order and harmony in many aspects of their life. Pythagoras, influenced by Persian and Egyptian mathematical advances, developed the concept of proportion that was employed in Ancient Greek architecture. Symmetry was one of the architects of the significant principles followed, which enabled Ancient Greeks to create numerous outstanding buildings. It is essential to add that numerical symbolism, which was created within the field of mathematics, contributed significantly to the development of Ancient Greek architecture.

Pythagoras played a significant role in the development of concepts that were later used in various spheres. For example, the Parthenon is a conspicuous example of the way symmetry was utilized in architecture (Leonardis, 2016). The temple construction was based on the use of such ratios as 2:3 and 4:9. Moving from more minor parts to more significant amounts was the fundamental strategy based on the essence of symmetry. This design led to the construction of buildings characterized by such concepts as symmetry and harmony.

The concept of symmetry and proportion was further refined, which led to the development of a mathematical proportion widely employed in architecture. The use of the golden ratio became a manifestation of Ancient Greeks’ focus on harmony. The golden ratio is credited to Pythagoras, but it is believed that the Ancient Greek mathematician developed his theorem based on the knowledge he gained in the Near East (Leonardis, 2016). Ancient Greeks adopted many rules and concepts, but they were specifically interested in proportions and ratios due to their search for harmony.

The Parthenon is one of the most famous temples that can be regarded as an illustration of the benefits of mathematical symbolism for architecture development. This is the temple where the use of the golden ratio is exemplary (“Optical refinements at the Parthenon,” 2018). The value of this ratio is approximately 1.618, and it is calculated as follows: (√5+1)/2 (“Optical refinements at the Parthenon,” 2018).

The façade of the Parthenon is characterized by the use of the golden ratio, which makes the temple seem perfectly symmetrical. The golden ratio was used for the construction of columns that were especially common in the Doric period (Leonardis, 2016). Ancient Greeks divided the top surface of a column drum by radius, which can be seen in Parthenon. The floor plan of this grand building also has several examples of the way this mathematical concept was incorporated into the design and construction process.

In addition, Ancient Greek architecture benefited from the use of the grid. Euclid, a renowned Greek mathematician, and his followers developed the concept that helped them to create an abstract representation of space (Leonardis, 2016). It is noteworthy that Ancient Greek mathematicians contributed considerably to the development of abstractions and generalizations from particular to the whole (Gamwell, 2015).

This ability was instrumental in creating magnificent buildings, as architects were able to develop specific plans and collaborate with other stakeholders during the construction process. Thousands of temples, including the Parthenon, were designed using this grid that contributed to the creation of a sense of harmony (Leonardis, 2016). Rectangular rooms in temples and other buildings were standard and helped Ancient Greek architects to create the effect of the order. Moreover, the streets of Ancient Greek cities were also characterized by the utilization of the grid as the roads were at right angles to one another. The town of Olynthus is one of the brightest illustrations of the use of the grid in city design. The grid made it possible to make the city layout neat and easy to navigate.

In conclusion, it is necessary to note that Ancient Greek architects managed to achieve high mastery of mathematical concepts and principles, which resulted in the development of architecture. Pythagoras and other mathematicians refined or further developed the ideas of numerical symbolism, the golden ratio, symmetry, proportion, and grid. Significantly, the knowledge these philosophers used was accumulated throughout the centuries.

These concepts were adopted by architects who designed buildings that could astound people, which was specifically crucial for the ruling elite. Therefore, such grand architectural artworks as the Parthenon, as well as many other temples, theatres, and buildings, were created in strict adherence to the rules and conventions.

Gamwell, L. (2015). Mathematics: Geometries of beauty. Nature, 528 , 476-477.

Leonardis, R. (2016). The use of geometry by Ancient Greek architects. In M. M. Miles (Ed.), A companion to Greek architecture (pp. 92-104). Malden, MA: Springer.

Optical refinements at the Parthenon . (2018). Web.

Wilson, J. M. (2015). Ancient architecture and mathematics: Methodology and the Doric temple. In K. Williams & M. Ostwald (Eds.), Architecture and Mathematics from Antiquity to the future (pp. 31-58). New York, NY: Birkhäuser.

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IvyPanda. (2023, October 31). Mathematics in Ancient Greek Architecture. https://ivypanda.com/essays/mathematics-in-ancient-greek-architecture/

"Mathematics in Ancient Greek Architecture." IvyPanda , 31 Oct. 2023, ivypanda.com/essays/mathematics-in-ancient-greek-architecture/.

IvyPanda . (2023) 'Mathematics in Ancient Greek Architecture'. 31 October.

IvyPanda . 2023. "Mathematics in Ancient Greek Architecture." October 31, 2023. https://ivypanda.com/essays/mathematics-in-ancient-greek-architecture/.

1. IvyPanda . "Mathematics in Ancient Greek Architecture." October 31, 2023. https://ivypanda.com/essays/mathematics-in-ancient-greek-architecture/.

Bibliography

IvyPanda . "Mathematics in Ancient Greek Architecture." October 31, 2023. https://ivypanda.com/essays/mathematics-in-ancient-greek-architecture/.

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Greek Architecture Essay Example

• November 28, 2022

Ancient Architecture

Greek Architecture Essay: Abstract

Art and architecture history cover up a long period that started with the civilization of humanity. Ever since cultures and societies have been creating art and architecture, specifically, one can see the impacts of ancient cultures on modern art and architecture because art is a collective process. In other words, one culture influences another, and art evolves to new methods and innovations. However, to understand modern art and architecture, one must know ancient art and architecture. This paper's primary purpose is to examine both Greek and Persian culture's architectures and find relations to one and another. For doing so, this paper analyzes Parthenon Temple and others in the Acropolis region. Therefore, this paper concentrates on Greek architecture and its relations to Persian architecture. The classical period had been influenced by many social and political impacts, and Greek had built temples that combined both political and mythological influences within the architecture.

Introduction

First of all, it is generally assumed that Greek art and architecture influenced Romans. Specifically, in the classical period, Romans copied original Greek statues and architecture. On the other hand, in Greek architecture, some similarities exist with Persian architecture. This influence stems from long years of wars between the Greeks and Persians. In this sense, both cultures interfered with each other and were affected by each other because Persians were a great empire that conquered middle-east, Anatolia, and Asia. Also, Persians and Greek had harmed each other, and Persians destroyed Acropolis temples.

Body Paragraphs

Persepolis architecture influenced Acropolis temples in several aspects. For instance, both Persepolis and Greek structures had similar functions. Also, Persian influence on Greek architecture revealed several different points. These similarities are that both structures represented the glory of their culture, and they were the main places to show respect to the gods or the Emperor. Greek temples were designed to see the temple from each side; specifically, one can see Greek temples from a very distant location. On the other hand, Persepolis structures represented the Apadana belief. The primary purpose of the Persian structure was to glorify the Emperor. Also, Persian was influenced by Greek architecture as well.

Ionian Greeks were famous for their expertise in sculptures. The Persian king Darius I. the Great wanted to build a palace in Persepolis, and Ionian Greeks were invited to help Persians. One can highlight that Ionian Greeks went to Persepolis and observed the architecture and art. Then they came back to their country and transferred their knowledge to the Greek artists. Therefore, the Ionian Greeks' impacts on Greek architecture stem from this invitation.

Before the Parthenon temple was built, one can find Persian influences in Greek architecture. For instance, the Odeon of Pericles and the Hall of The Hundred Columns in Persepolis. Both structures had the same dimensions: The Odeon was measured 68,50 x 62,40 meters and contained 9 x 10 columns; the room of the Persepolis palace had 10 x 10 columns and was measured 68,50 x 68,50 meters ("Persian Influence," 2020). Therefore, one can highlight that there are certain resemblances between the two structures. Specifically, these kinds of similarities can be found in many Acropolis temples. After all, Persians and Greek interfered with each other for more than fifty years.

Figure 1. Odeon of Pericles, Athens

Another resemblance between Persian and Greek architecture can be found in the Prytaneum. Specifically, the Prytaneum was an Athenian market, and it was built in 465 BC. It represented Greek democracy, and the Athenians called it merely the tholos ("round building") or skias ("parasol") ("Persian Influence," 2020). That is, the Prytaneum was influenced by the Persian structure because round buildings were uncommon, and the Persian king often was described with parasol. Arguably, one can assume that Greeks were influenced by Persian left-behinds and change the original form with different materials. After all, in this period, the parasol was uncommon and associated with Persians.

Figure 2. The Prytaneum, Turkey

Other than Persian influences, Greek had their architectural style and belief. The temples in Acropolis shows resemblances with each other. These temples are similar to each other because they represent the same function and mythological narratives. Also, their internal structures are identical to each other. For instance, one can see that in the Temple of Athena, Nike and Parthenon have similar measures in the fragments, and they were both built for honoring Athena. Also, both temples can be seen from all sides.

Greeks valued building sanctuaries in honor of gods and goddesses. However, Persian destroyed many temples in Acropolis. Therefore, in the battle of Salamis, the Greeks defeated the Persians by destroying their navy. Frequently, the Persians retreated to Asia. More specifically, the war between Greeks and Persians kept going for years. Both sides had their victories, sometimes Greek won and sometimes Persians. Eventually, in 447 BC Parthenon Temple was started to build. Some historians believe that Athens concluded a peace treaty with Persia in 449 BC, two years before work began on the Parthenon ("The Parthenon," 2020).

Figure 3. The Parthenon Temple of Athena, Athens

The Parthenon temple was built to represent glory and victory. In this sense, the Parthenon was made in honor of the goddess Athena. The Parthenon temple represented political and mythological impacts on Greek culture. In Greek mythology, Athena is the justice and strategy goddess, and Greek believed that the goddess helped their grandfathers to win the war against Persians. Therefore, the Parthenon glorified Athena and Greek culture. In other words, the Parthenon represents a victory for Greeks, and one can suggest that the Parthenon was built to defend the city against another Persian invasion. Also, it was made for uniting Greek citizens.

In Greek society, women had not any rights in politics or social life. The only man who was born in Greek had rights in politics. Typically, in this period, Greek figures only include portray of Greek gods and goddesses, but in the Parthenon temple, there were warrior human figures. Therefore, mortal Greek warriors were represented as the equals of the gods and goddesses. In the Parthenon temple, friezes had a classical sense of dimensionality, anatomy, and a great sense of motion associated with Greek-style and mythology.

More specifically, a part of friezes included the war with Amazons, and they were dressed as Persians. One can highlight that Amazons represented Persians, and revealing Persian men in the female body was done to humiliate Persians because in Greek society, being a woman meant nothing. Therefore, the Parthenon temple wound Persians and glorified the Greek Empire.

The Parthenon temple represented Classical belief, and it had unique friezes that included different war figures for Greek victory. Specifically, in the friezes, one can see that some of the figures are not horizontal because the artist focused on filling the space in friezes. Also, there are two refinements in the Parthenon temple, and one can connect these refinements to ancient technology because these refinements reveal the incredible architecture. Specifically, Greek architecture has influenced modern architecture. One can suggest that in the 21st century, many buildings share similar measures with the Parthenon temple.

First of all, refinement 1 concentrates on entasis measures that force bearing down upon the columns. For instance, each column has a 1.75 cm entasis. One can explain this refinement by looking at different sides, angles, and forms of the Parthenon temple. Specifically, the basis of the Parthenon temple is the stairs. These stairs are uncommon because they are curving upwards. Also, the temple rises from the center of the building. There is a distortion that stems from visual distortion. Therefore, the proportion's emphasis makes the Parthenon temple appear from the front and back.

Another significant fact about the Parthenon temple is that its structure has a unique 4:9 rate. Specifically, 4:9 height of floor to top, and it has a 4:9 column diameter. Also, 4:9 column diameter creates an axial distance between columns. Eventually, the Parthenon's most significant fact is the 4:9 rate used in modern buildings.

On the other hand, while Greek was concentrating on classical belief, Persians were focusing on Apadana belief. In the classical period, Greek architecture was influenced by Persians. More specifically, the Parthenon temple's functions were similar to Apadana belief because the Parthenon temple was the main building for Greeks to show graduate to the goddess Athena. One can infer that it had a religious function because Greek was going to the temple to pray the goddess. Moreover, in Persian architecture, Apadana belief showed a similar function to the Parthenon temple. However, in Persian architecture, the structure was made for glorifying the Emperor, and on new years eve, Persians gave offerings to the Emperor.

Greek architecture has a similar form and building type on a few of the buildings when Greek architecture was compared to Persian. Still, Greek architecture's style and technology are more developed than Persian. Also, Greek temples represent the gods and goddesses. On the other hand, Persian architecture represents emperors and high-class ambassadors. One can see specific differences between Greek and Persian culture. Eventually, Greeks might be influenced by some of the buildings' styles and forms from Persian architecture, and most of the time, Greeks have changed the buildings that were affected by the Persians. Specifically, Greek improved those buildings with better forms, style, and technology.

Greek Architecture: Conclusion

To sum up, this paper investigated the relationship between Greek and Persian architecture. Specifically, it concentrated on both Acropolis and Persepolis, which were essential regions for Greeks and Persians. In this sense, it focused on examining the Parthenon temple and its relations to Persian influences. Since the Parthenon temple was built to represent the victory of Greeks after long years of wars with Persians, one can suggest that by making the Parthenon temple, Greeks humiliated Persians because, in the one section of the friezes, Amazon women were described with Persian clothes. In Greek culture, women had no rights. Therefore Persians were defined as women. Eventually, one can find resemblances between Greek and Persian architecture. On the other hand, they have differences in their cultures because Greek built temples for honoring their gods and goddesses. Also, in Greek society, there was a democracy. However, in Persian culture, temples and buildings were made for honoring the Emperor. While Greek made sacrifices and gave offerings to gods and goddesses, the Persians gave offerings to their Emperor on New Year's eve. Therefore, one can highlight that there are significant differences between the Greeks and Persian cultures because their societies' dynamics are different than each other. Eventually, Persian influences on Greek architecture helped Greeks improve architectural styles and form in order to create better buildings.

"The Parthenon." Humanities. Web. 12 Dec. 2020.

"Persian Influence on Greek Architecture." Livius.org. Web. 12 Dec. 2020.

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